SAO PAULO

Although the presence of the architecture and urbanism of the city is constantly insinuated, neither of them is treated as the real subject of the film. As the scenes that show the city are cut up by scenes of groups of friends, the way the megalopolis is approached is ‘familiarised’. It is as if the film assimilated a sort of personal wandering. Even the way of filming is paramount. The camera is never fixed and the sequences are filmed out of a car, a plane, a boat, or while walking down the road. By using the tele-lens with a fixed image (for example while filming houses from the top of a large building), the trembling of the hands is accentuated. It is nice to feel that the way of filming matches your own way of looking. There is some sort of confusion between the act of filming and the act of looking that dramatizes what doesn’t seem logical.